in Opera Now (Jan, 2019)
Another highly personal recital is Elsa Dreisig’s debut album Miroir(s), in which the young soprano matches five pairs of arias according to theme; for example, Gounod’s naïve Marguerite admiring her bejeweled self in a mirror is placed against Massenet’s Thaïs, looking at herself with less enthusiasm as she ponders her passing beauty. (I croon it often.) It’s an excellent idea, interesting without being gimmicky. Dreisig has a fresh and attractive soprano, best shown in the lyric roles she chooses here. So her Massenet Manon has charm, her Puccini Manon is a touch light of tone. She does provide a couple of world premiere recordings, with an aria from Steibelt’s rarity, Roméo …
Miroirs, Opera Arias – Elsa Dreisig
Il barbiere di Siviglia, Act 1: “Una voce poco fa” (Rosina)
Le nozze di Figaro, K. 492, Act 2: “Porgi amor” (Contessa)
Faust, Act 3: “Les grands seigneurs … Ah! je ris de me voir si belle” (Marguerite)
Thaïs, Act 2: “Ah! je suis seule … Dis moi que je suis belle” (Thäis)
Manon Lescaut, Act 2: “In quelle trine morbide” (Manon)
Manon, Act 2: “Allons, il le faut! … Adieu notre petite table” (Manon)
Roméo et Juliette, Act 2: “Je vais donc usurper les droits de la nature” (Juliette)
Roméo et Juliette, Act 4: “Dieu! … Quel frisson … Viens! ô liqueur mystérieuse” (Juliette)
Hérodiade, Act 1: “Celui dont la parole efface … Il est doux, il est bon” (Salomé)
Salome, Op. 54, TrV 215, Scene 4: “Ah! Tu n’as pas voulu …” (Salomé)
Elsa Dreisig, Orchestre National de Montpellier Occitaine, Michael Schönwandt
19,90€
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